210 Best Sights in Tuscany, Italy

Highlights here include the lovely Portrait of a Youth by Pontormo; portraits of the Medici painted by Bronzino (1503–72); and paintings by Tintoretto, Vasari, and others.

On the north bank of the Arno, this museum contains some beautiful examples of local Romanesque and Gothic art. Despite the fact that it has stunning works by Donatello and Benozzo Gozzoli (among others), here you'll find very few other visitors.

Although this museum presents a noteworthy overview of Lucca's artistic traditions up through the 17th century, you might find few other visitors exploring its extensive collections of local Etruscan, Roman, Romanesque, and Renaissance art. It's all housed in the 15th-century former villa of the Guinigi family, on the eastern end of the historic center.

Most of the artifacts found during the excavations of Chiusi's Etruscan sites are now on display in this small but expertly laid out museum. Relics include elegant Etruscan and Greek vases, carved Etruscan tomb chests, and a number of the strange canopic jars with anthropomorphic shapes that are unique to this area.

The tombs themselves can be seen by arrangement with the museum—sometimes. (You're accompanied by museum personnel, and staff shortages have led to tomb closures.) These underground burial chambers are still evocative of ancient life, particularly in the Tomba della Scimmia (Tomb of the Monkey), where well-preserved frescoes depict scenes from ordinary life 2,500 years ago. The Tomba del Leone (Tomb of the Lion) and Tomba della Pellegrina (Tomb of the Pilgrim) might also be open at set times during museum hours.

The museum of sacred art displays religious relics as well as triptychs from the Sienese and Florentine schools dating from the 14th and 15th centuries. It also contains the town's tribute to Arnolfo di Cambio, with photos of the buildings he designed for other towns. Down Via del Castello, at No. 63, is the house-tower where Arnolfo was born in 1245. (It's not open to the public.)

Pre-Etruscan tombs at this necropolis aren't kept up well, but they're interesting simply for their age, as they're even older than Saturnia's legendary baths. Access is free and at all hours.

Siena's botanical garden is a great place to relax and enjoy views onto the countryside below. Guided tours in English are available by reservation.

Founded in the 13th century, this still-functioning hospital has a facade with a superb early-16th-century exterior terra-cotta frieze. It was begun by Giovanni della Robbia (1469–1529) and completed by the workshop of Santi and Benedetto Buglioni between 1526 and 1528. Don't miss the 17th-century graffiti on the columns outside.

During Napoléon's famous exile on Elba in 1814–15, he built this residence out of two windmills. It still contains furniture from the period and Napoléon's impressive library, with the more than 2,000 volumes that he brought here from France.

Built by the Casali family, who lived here until 1409, this palace is home to the Accademia Etrusca, with an extensive library, La Biblioteca Comunale, and the Museo dell'Accademia Etrusca e della Città di Cortona (aka MAEC). An eclectic mix of Egyptian objects, Etruscan and Roman bronzes and statuettes, and paintings is on display in the museum. Perhaps the most famous piece is the Tabula Cortonensis, an Etruscan contract written on bronze that was found in 1922 and dates from the second century BC. Look for work by Renaissance artists such as Luca Signorelli and Pinturcchio (circa 1454–1513). From May through September, guided tours are available in English with prior arrangement.

Near the Collegiata stands this splendid town palace, named after the family to whom the Medici bestowed San Quirico in 1667. Small art exhibitions are occasionally displayed in the palace courtyard, and the tourist office is here. The rest of the building is closed to the public.

Montepulciano's town hall dates from the late 13th century, though it was restructured in the 14th century and again in the mid-15th century. Michelozzo oversaw this last phase, using the Palazzo Vecchio in Florence as his inspiration. From the tower, a commanding view of Siena, Mt. Amiata (the highest point in Tuscany) and Lake Trasimeno (the largest lake on the Italian peninsula) can be enjoyed on a clear day.

Tuscany's first town hall, built between 1208 and 1254, has a no-nonsense facade, fortress-like crenellations, and a five-sided tower. It later served as a model for other town halls throughout the region, including Florence's Palazzo Vecchio. The medallions that adorn the facade were added after the Florentines conquered Volterra. The town leaders still meet on the first floor in the Sala del Consiglio, which is open to the public and has a mid-14th-century fresco of the Annunciation.

Across the piazza from the Collegiata is the "old" town hall built in 1239. Its tower was erected by the municipality in 1255 to settle the raging "my-tower-is-bigger-than-your-tower" contest—as you can see, a solution that just didn't last long. The palace is closed to visitors.

Radda's town hall (aka Palazzo Comunale), in the middle of town, was built in the second half of the 14th century and has always served the same function. The 51 coats of arms (the largest is the Medici's) embedded in the facade represent the past governors of the town, but unless you have official business, the building is closed to the public.

Here you can rest your feet and let time pass, surrounded by a harmonious arrangement of sun, shade, blooming plants, water, and mysterious statuary. The palazzo's well-kept formal garden, which abuts the city walls, centers on a large fountain and pool. Allegorical statues line pebbled paths that radiate outward. The palazzo, built in the 17th century, was purchased in the 19th century by the Pfanners, a family of Swiss brewers. The family, which eventually gave the town a mayor, still lives here.

In 1459, Pius II commissioned Bernardo Rossellino to design the perfect palazzo for his papal court. The architect took Florence's Palazzo Rucellai by Alberti as a model and designed this 100-room palace. Three sides of the building fit perfectly into the urban plan around it, while the fourth, looking over the valley, has a lovely loggia uniting it with the gardens in back. Guided tours departing every 30 minutes take you to the papal apartments, including a beautiful library, the Sala delle Armi (with an impressive weapons collection), and the music room, with its extravagant wooden ceiling forming four letter Ps, for Pope, Pius, Piccolomini, and Pienza. The last tour departs 30 minutes before closing.

The Gothic Palazzo Pubblico, the focal point of the Piazza del Campo, has served as Siena's town hall since the 1300s. It now also contains the Museo Civico, with walls covered in early Renaissance frescoes. The nine governors of Siena once met in the Sala della Pace, famous for Ambrogio Lorenzetti's frescoes called Allegories of Good and Bad Government, painted in the late 1330s to demonstrate the dangers of tyranny. The good government side depicts utopia, showing first the virtuous ruling council surrounded by angels and then scenes of a perfectly running city and countryside. Conversely, the bad government fresco tells a tale straight out of Dante. The evil ruler and his advisers have horns and fondle strange animals, and the town scene depicts the seven mortal sins in action.

The Torre del Mangia, the palazzo's famous bell tower, is named after one of its first bell ringers, Giovanni di Duccio (called Mangiaguadagni, or earnings eater). The climb up to the top is long and steep, but the view makes it worth every step.

The well-kept nature preserve at Monti dell'Uccellina is an oasis of green hills sloping down to small, secluded beaches on protected coastline. The park also has scattered Etruscan and Roman ruins and a medieval abbey, the Abbazia di San Rabano. Daily limits restrict the number of cars that can enter, so in summer it's best to either reserve ahead or to leave your car in Alberese and use the regular bus service. Contact the park's information office for bookings and to secure English-language guides. Enter from the south at Talamone (turn right 1 km [½ mile] before town) or from Alberese, both reachable from the SS1 (Via Aurelia). 

The Parco Regionale delle Alpi Apuane (Regional Park of the Apuan Alps) straddles the hills of coastal Versilia and spreads mostly across the mountainous Garfagnana inland. It includes caves, grottoes, peaks, and valleys. Hiking, riding, and mountain bike trails crisscross the park. There are various points of access for various types of excursions, and all are clearly indicated on the interactive park map. The park's visitor center is in the town of Castelnuovo Garfagnana.

The piazza, with its fine Renaissance Palazzo dei Cavalieri, Palazzo dell'Orologio, and Chiesa di Santo Stefano dei Cavalieri, was laid out by Giorgio Vasari in about 1560. The square was the seat of the Ordine dei Cavalieri di Santo Stefano (Order of the Knights of St. Stephen), a military and religious institution meant to defend the coast from possible invasion by the Turks.

Also in this square is the prestigious Scuola Normale Superiore, founded by Napoléon in 1810 on the French model. Here graduate students pursue doctorates in literature, philosophy, mathematics, and science. In front of the school is a large statue of Ferdinando I de' Medici dating from 1596. On the extreme left is the tower where the hapless Ugolino della Gherardesca (died 1289) was imprisoned with his two sons and two grandsons—legend holds that he ate them. Dante immortalized him in Canto XXXIII of his Inferno. Duck into the Church of Santo Stefano (if you're lucky enough to find it open) and check out Bronzino's splendid Nativity of Christ (1564–65).

The town's main square teems with cafés and bars. It's an excellent spot for people-watching; in the evening and on weekends it seems like everyone is out walking, seeing, and being seen.

Here, in the central town square, you'll find the 13th-century Palazzo Pretorio, which has a facade adorned with coats of arms of Sovana's captains of justice, and the Renaissance Palazzo Bourbon dal Monte.

Here's where the ancient Roman amphitheater once stood. Some of the medieval buildings built over the amphitheater retain its original oval shape and brick arches.

Filled with handsome buildings, this large square on the heights of the old historic town is Montepulciano's pièce de résistance.

With its irregular shape and sloping brick pavement, framed by buildings of assorted centuries, Arezzo's central piazza echoes Siena's Piazza del Campo. Though not quite so magnificent, it's lively enough during the outdoor antiques fair the first weekend of the month and when the Giostra del Saracino (Saracen Joust), featuring medieval costumes and competition, is held here on the third Saturday of June and on the first Sunday of September.

Greve's gently sloping and asymmetrical central piazza is surrounded by an attractive arcade with shops of all kinds. In the center stands a statue of the discoverer of New York harbor, Giovanni da Verrazzano (circa 1480–1527). Check out the lively market held here on Saturday morning.

Ancient even by Chianti standards, this hilltop church probably dates from the 10th century, but it was completely rebuilt in the Romanesque style sometime in the 13th century. It has a 14th-century cloister worth seeing. The 16th-century terra-cotta tabernacles are attributed to Giovanni della Robbia, and there's also a remarkable triptych (attributed to the Master of Panzano) that was executed sometime in the mid-14th century. Open days and hours are unpredictable; check with the tourist office in Greve in Chianti for the latest information.

This church dates from the 12th century, though the interior was redone in the 18th century and most of the art inside is from that period.

One of Volterra's best-looking Renaissance buildings contains an impressive collection of Tuscan paintings arranged chronologically on two floors. Head straight for Room 12, with Luca Signorelli's (circa 1445–1523) Madonna and Child with Saints and Rosso Fiorentino's later Deposition. Though painted just 30 years apart, they illustrate the shift in style from the early 16th-century Renaissance ideals to full-blown Mannerism: the balance of Signorelli's composition becomes purposefully skewed in Fiorentino's painting, where the colors go from vivid but realistic to emotively bright. Other important paintings in the small museum include Ghirlandaio's Apotheosis of Christ with Saints and a polyptych of the Madonna and Saints by Taddeo di Bartolo, which once hung in the Palazzo dei Priori.